“How to narrate the world uncorrected?” asks Will Rawls, who, as a Black American, regularly risks the dopiest as well as the severest of corrections. As a multidisciplinary artist, his answer takes multipronged form: a book-cum-installation (at The Kitchen), an album, and a dance, all smartly entitled [siccer]. The dance—presented at Performance Space New York as part of L’Alliance Française’s Crossing the Line festival—alternates live action with stop-motion. We see five performers moving onstage; then we see the moment arrested—a photograph projected onto a screen. It makes us aware of what eludes capture. As for [sic] (if not [siccer]), editors insert the word where cited text falls outside standard usage. They’re saying: “This error? Not my fault.” But the phrase for which the word stands—sic erat scriptum, or, “Thus it was written”—is less judgmental. Fugitive hope seeps into [siccer], too, the intellectually vital choreographer says, via “the body insisting on its own presence, over and over and over, from second to second, minute to minute,” as it does in dance and in Black lives. —Apollinaire Scherr